You Can’t Market a ‘Cult Classic’: The Case of ‘Forbidden Fruits’
According to the CinemaDrame News Agency, the new independent horror film Forbidden Fruits serves as another example of mistaking viral marketing for enduring cultural power.
No one is looking to nitpick Forbidden Fruits, but the latest offering from Shudder and the Independent Film Company—a magical satire starring Lili Reinhart, Victoria Pedretti, Lola Tung, and Alexandra Shipp, set in an ethereal Texas shopping mall—has fallen victim to a familiar promotional gimmick.
With the cast, crew, some critics, and even early fans comparing Meredith Alloway’s direction to vintage staples like Jennifer’s Body, Jawbreaker, and The Craft, this dark fantasy—which plays like a more violent version of Mean Girls—is already being widely labeled a “cult classic.”
However, much like the term “jumbo shrimp” is an oxymoron, the “instant cult film” contradicts the very concept of a cult following. This rare title is only earned when audiences track and amplify a film’s cultural presence over time. Labeling a work a “cult hit” too early can actually disrupt the organic formation of a serious genre piece.
With a $1.2 million opening weekend, Forbidden Fruits is neither a failure nor a breakout sensation. So far, it has performed moderately, supported by positive reviews from SXSW and a clever news cycle fueled by its popular cast. While such chaotic energy has led to niche success for famous films in the past, is it enough to secure a lasting legacy for Fruits?
Cult films are not defined by their opening weekend sales; they are defined by what happens after the initial release—when the crowd returns and turns favorite moments into a shared communal language.
Sometimes this unexpected canonization leads to enduring success, like the fifty-year legacy of The Rocky Horror Picture Show. Other times, marginal films continue to thrive on the fringes, such as Ginger Snaps, which earned its reputation over years of passionate support, particularly from female fans.
More modern examples include The People’s Joker, which found its audience through a difficult distribution path, highlighting its importance within the broader landscape of trans cinema. Other contemporary indies, from Fcktoys* to Hundreds of Beavers, went straight from American festivals to international tours, experiencing packed halls reminiscent of concert stadiums.
In all these cases, cult followings formed gradually. The behind-the-scenes stories explaining how audiences connected with the films became as vital to the projects’ mythology as the movies themselves. Rushing this process cuts short the best parts.
There is nothing wrong with excitement and interest in a film; if you love a movie, say so. But the “instant cult” label often reflects the speaker’s hopes rather than the film’s reality. The term is frequently used as a prediction for the film’s future rather than an assessment of its current state.
Cult films aren’t for everyone; their success is measured differently. This is exactly what is seen in the conversations surrounding Forbidden Fruits, where the film’s magical and unique themes heighten the debate.
The “cult” label is particularly difficult to apply to Forbidden Fruits because it is a well-crafted, mid-budget production with major stars and a highly marketed aesthetic. It is not an accidental or low-budget attempt at being noticed.
Cult films aren’t just weird; their weirdness is so prominent that audiences feel they have discovered something others have missed. This experience cannot be achieved in a single weekend, and it cannot be reached through branding.
Online culture accelerates the entire cycle, and Forbidden Fruits is very active on TikTok. However, going viral for a day is different from enduring in film history. We do not yet know which images, lines, or scenes will last; we only know that some are fit for today’s entertainment.
When female-led, queer, or fringe culture stories are immediately dubbed “cult,” it can create an invisible ceiling, assuming the film’s success will happen “later” and “elsewhere.”
Perhaps Forbidden Fruits will endure, and people will return to its strange moments to create a lasting ritual. Or perhaps not. That isn’t a failure; it’s a natural process.
The goal of a quiet “cult” status is to avoid limiting a film’s potential, allowing it to blossom over time without a premature label. Pre-branding is nothing more than marketing, and often, the result is spoiled by it.
Forbidden Fruits from Shudder and the Independent Film Company is currently playing in theaters.
